By Paolo Sorrentino has made a career out of creating films with an incredible sense of style, all often in the service of farce taking down the rich elite. In his Oscar-winning The Great Beauty, it was the snobbery of the high art world that came under his microscope, while in his last film Loro, he looked at the allure and corruptive power of greed through examining media tycoon and politician Silvio Berlusconi. Both of those films and his work on TV with The Young Pope have a larger-than-life atmosphere to their characters and settings, often full of colour, glitz, and ridiculous glamour that drives the hollowness at the centre of the figures he’s examining.
Read the full review over at THN, originally published on December 7 2021.
Andrew Gaudion 